Here’s the manner by which the Dune film is guaranteeing it’s outwardly not quite the same as Star Wars. Made by Frank Herbert and George Lucas, separately, the two science fiction properties share a decent measure practically speaking. Ridge executive Denis Villeneuve has even ventured to such an extreme as to depict his vision for his adjustment as “the Star Wars film I never observed,” calling Dune “Star Wars for grown-ups” in the manner in which it centers around geopolitics over space fights. Costar Jason Momoa has correspondingly compared his character, the warrior Duncan Idaho, to being the Han Solo of the film.
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The equals don’t end there; Villeneuve’s Dune film is really being shot by Greig Fraser, who likewise chipped away at Rogue One and filled in as the DP on a couple of scenes of The Mandalorian season 1. He’s the most recent acclaimed cinematographer to unite with Villeneuve, after Roger Deakins teamed up with him on Prisoners, Sicario, and Blade Runner 2049 (which he won his late Oscar for), and Selma DP Bradford Young worked with the movie producer on Arrival (catching his first Oscar gesture all the while). And keeping in mind that some Dune fans were worried by the stifled shading palette of Fraser’s visuals in the principal look film pictures discharged recently, others have protected it just like the ideal counterpart for Herbert’s source material (which, in spite of its over the top components, feels very grounded).
Talking in an ongoing meeting with Collider, Fraser said he was cognizant about making certain his cinematography for Dune was not the same as his endeavors on Star Wars and the establishment on the loose. That is even more significant since, as Fraser called attention to, Lucas apparently took all around motivation from Herbert’s unique 1965 Dune tale when he made Star Wars in 1977:
It was very fun since I needed to overlook a great deal of Star Wars when I was making Dune. It wasn’t hard, however. Denis and I talked obviously about how the film should look and should feel, and the organizations and various stuff, so it was not hard to turn and switch to another lane. There were a few likenesses like the deserts. I mean tune in, at last I’m certain George Lucas was roused by Dune when he made Star Wars. I don’t have the foggiest idea whether that is profane to discuss, yet there are a great deal of likenesses in certain zones, so you could tell he was unquestionably affected by that. So I must be cautious doing both [Dune and The Mandalorian] and not to rehash myself. Likewise for the film, yet for the sake of entertainment. I loathe doing something very similar twice.
The truth will eventually come out with regards to Fraser’s remark about how he prefers not to rehash himself. Regardless of whether it’s the abrasive dream of Snow White and the Huntsman or the authenticity centered Zero Dark Thirty, it’s uncommon for any two movies shot by Fraser to look such comparable. It’s similarly simple to tell his Star Wars extends separated; subsequent to utilizing sloppy shades to give Rogue One the look and feel of a down and filthy war film, he drew from a more extensive scope of gritty tones on The Mandalorian to evoke the sentiment of a good old western in space. Obviously, the Dune film’s form of the desert planet Arrakis is unavoidably going to be contrasted with the sand universes of Star Wars (to be specific, Tatooine and Jakku), yet it as of now looks more like a planet like earth than some place in a cosmic system far, far away.
Clearly, there are other visual components (explicitly, the outfits and creation plan) which should additionally assist with recognizing Villeneuve’s Dune film from anything Star Wars-related. The outfits worn by cast individuals like Timothée Chalamet, Oscar Isaac, Zendaya, and Rebecca Ferguson in the main Dune pictures are un-garish and commonsense in their design sense, even more so contrasted with the more intricate clothing supported by the legends and antagonists of the Star Wars universe. Indeed, even the monster sandworms of Arrakis have been structured with a sharp tender loving care to guarantee they look as sensible as, well, animals roused by the winged serpents of European fables can look. In the case of nothing else, Dune ought to be a genuine dining experience for the eyes.
